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DTSTART;TZID=America/Phoenix:20260412T193000
DTEND;TZID=America/Phoenix:20260412T233000
DTSTAMP:20260428T010606
CREATED:20260403T015258Z
LAST-MODIFIED:20260403T015258Z
UID:20619-1776022200-1776036600@globalazmedia.com
SUMMARY:Lacuna Coil at The Van Buren
DESCRIPTION:If you know Lacuna Coil then you’ll already be aware that every album entry in their storied career is more than just a sound. Each one is a richly textured soundtrack to a specific time and a place. With Sleepless Empire\, that place is dark\, cinematic\, and unmistakably true to the unique characteristics that have given Lacuna Coil such a celebrated entry in the annals of heavy music.\nAs founding songwriter-in-chief Marco Coti Zelati\, aka Maki explains\, while the writing process for Lacuna Coil’s tenth studio record began in December\, the record’s real creative birth coincided with the release of 2022’s Comalies XX\, a 20th-anniversary reimagining of their landmark 2002 record\, Comalies. It was more than an epic and rapturously received reinvention of that 21st century classic. It would serve to align the past\, the present\, and the future of Lacuna Coil as they take their first steps into the fourth decade of their remarkable career.\n“I never get stuck in the past\,” says Maki. “Sure\, I still love Type O Negative and Paradise Lost\, but I also love soundtracks: big orchestral stuff like Hans Zimmer\, Danny Elfman or even John Williams. If people had a chance to listen to Sleepless Empire without the voice\, guitars or drums – the orchestral part – it’d be a soundtrack because it’s very cinematic and that’s how I spend most of my time. I grew up watching movies all day long\, even with my father – there was this massive culture of movies and soundtracks\, even iconic horror ones like Friday the 13th or Halloween and obviously growing up in Italy\, Goblin and their incredible soundtracks for Profondo Rosso and Suspiria.”\nAnd from the colossal refrains of album opener The Siege to the wickedly catchy I Wish You Were Dead and the irrepressibly classic feel of Sleepless Empire’s title track\, there’s no mistaking the confidence of Lacuna Coil’s latest\, and it has its share of surprises\, too. They come in the form of two very special guest appearances from none other than New Years Day banshee Ash Costello on their epic In The Mean Time and an ear-splittingly over-the-top contribution from Lamb of God singer Randy Blythe on Hosting the Shadow. According to founding vocalist Andrea Ferro\, Randy’s inclusion was a family affair.\n“We met Randy when we did Ozzfest together back in 2004\,” he says. “We were on the same stage and we started a friendship and always stayed in touch – we toured together in so many different situations and at so many festivals\, so we know each other – he’s really like a part of the family to us. Finally doing a collab with him was both a natural thing but also a huge honor for us\, as we’re friends but also fans.”\nAs for the addition of Ash Costello to the proceedings\, it came from a place of mutual admiration and wanting to bring her celebrated vocal style into the fray.\n“We were searching for that perfect ‘rock’ voice\,” Ferro explains. “Not too clean or symphonic but rather something with fire in it\, and she has it – exactly what we needed for that part. We really loved what she did to the song\, it’s absolutely perfect.”\nAnd if there’s a special edge to Sleepless Empire it’s about more than that vocal cross pollination alone. As Ferro explains\, the key to Lacuna Coil’s eternally youthful aura is their curiosity and ability to respond creatively to new inspiration without losing sight of the qualities that make them who they are – and he counts Sleep Token\, Spiritbox\, Bad Omens\, and Bring Me The Horizon as examples of other bands who are doing the same to keep the scene and their own sounds vibrant. That independent spirit has been key to balancing Lacuna Coil’s artistic prerogative against the weight of expectation\, and Ferro is emphatic when describing how these strange times have generated no shortage of material to influence Sleepless Empire’s weighty lyrics and mood.\n“Our sound is dark because it reflects the society we’re living in – it’s a portrait of our times\,” he says. “We’re from a unique generation that remembers the analog world but lives in the digital one\, we’re the first generation that’s lived through both so we’ve been witnesses the change to our society and that’s the Sleepless Empire. Everyone is always on their phone\, always scrolling\, always doing something – morning to night\, it just never stops.”\nAnd it’s perhaps the simultaneous promise and peril of our increasingly tech-governed world that’s been on Cristina Scabbia’s mind for some time\, an unease she’s channeled into Lacuna Coil’s latest. It’s a feeling she’s unafraid of expressing outside of the studio\, too.\n“Before Comalies XX we literally stopped creating\,” she says. “With the pandemic going on\, everything was so negative around us that we didn’t want to connect to anything and in some way\, it was like a comeback for us because it renewed our love of songwriting\, but we needed to find a spark that’d create the concept for our record. We love singles\, but we like an idea of a whole record that tells a story – the kind that captures a moment in time.”\nIt’s a philosophy that’s reflected in every aspect of Sleepless Empire. The album’s box set includes an Oracle divination game which the band have playfully hidden in the booklet for fans to find. It also influenced their decision to work with Neapolitan illustrator Roberto Toderico\, whose stunning cover art is something that Cristina explains reflects a deeper sentiment than a purely aesthetic choice. It’s an expression of the band’s desire to remain defiantly authentic in an increasingly challenged creative landscape.\n“I met Roberto at a comic convention. I love his work because it’s completely handmade\,” she says. “People pretend that AI is creating something new and I disagree with that. I’m not against tech\, what I’m against is people confusing tech with 100% creativity like music or painting or drawing that comes from what you have inside. I understand people’s pain from all this because I feel that too.”\nIt’s perhaps that perspective that gives Sleepless Empire such a timely but timeless feel. It’s a portrait of these times\, and a powerful statement of intent from a band at ease with their past and defiantly forging ever-forward. \n \n \nIn their almost 20 years as a band there have been many changes to the lineup of  – with vocalist  holding down vocals for 15 of them. In preparation for their upcoming album –– they have reached peak stability and happiness. They may come at the music from different directions\, but both Ortiz and Mabbitt agree on the importance of the band’s live presentation. “Whether it is 500 or 50\,000 people in the room\, we BRING IT\,” says Mabbitt. Ortiz agrees and adds “the honor of the ability to do this for a living for our amazing fans is not lost on us. We are really grateful.” Gratitude and humility are the buzzwords for the new . \nAnother thing that is new is the official addition of longtime bassist\, Erik Jensen\, to the lineup. TJ Bell has been ‘the glue’ that held the chaotic lot together in his nearly 10 years with the band. Matti Hoffman is the coffee-chugging\, guitar-solo-writing\, high-energy new guitarist taking on his duties while Kevin ‘Thrasher’ Gruft explores the world of production. \nLaying themselves bare for the fans\, it is a re-invigorated  on . New label (Big Noise – run by longtime collaborator producer John Feldmann)\, new bandmates and a new lease on life for each of them\, the only thing that has not changed is ’s love for their fans and determination to give them the very best of which they are capable. \n \n \nSelf-described death-pop duo VOWWS write buzzing\, hook-filled songs that thread together influences such as new wave\, surf rock\, goth\, and film scores. The duo’s music is dark and dreamy yet focused and energetic\, prioritizing melodies and warmth while experimenting with unconventional song structures and textures. The group’s 2015 debut album\, The Great Sun\, featured a collaboration with synth pop pioneer Gary Numan\, and the duo subsequently shared the stage with Deftones\, Cold Cave\, and the Soft Moon. After collaborating with Chino Moreno and Chelsea Wolfe\, the band released their third album\, I’ll Fill Your House with an Army\, in 2025. \nOriginally from Sydney\, Australia\, Rizz and Matt lived in New York City for a few years\, releasing an album under the name WAZU in 2012. Refining their blend of synth pop\, metal\, industrial\, and other influences\, the duo issued a self-titled EP as VOWS in 2013. In 2015\, the duo relocated to Los Angeles and signed with Cleopatra Records\, releasing full-length The Great Sun under the altered name VOWWS that year. Gary Numan guested on the single “Losing Myself in You\,” and Swans drummer Thor Harris also contributed to the album. The duo spent the next few years writing new material and playing gigs with bands such as Sextile and Prayers. In 2018\, VOWWS’ second album\, Under the World\, was released by Weyrd Son Records\, and the duo toured across North America with Soft Kill. After VOWWS appeared at the Dia de los Deftones festival in San Diego that November\, Deftones leader Chino Moreno appeared on “Structure of Love II\,” a reworked version of a song off Under the World. \nVOWWS released the songs “Impulse Control” and “Stay Where You Are” in 2020. A cover of Britney Spears‘ “Womanizer” appeared in 2021. “One by One”/”Shadow Man” was released in 2022\, and VOWWS additionally collaborated with Chelsea Wolfe on the song “WAIT.” After signing with German label Out of Line\, VOWWS returned with their third full-length\, I’ll Fill Your House with an Army\, in 2025. The song “SHUDDER” featured James “Munky” Shaffer from Korn and drummer Josh Freese (Nine Inch Nails\, Guns N’ Roses\, Foo Fighters).
URL:https://globalazmedia.com/event/lacuna-coil-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20260414T190000
DTEND;TZID=America/Phoenix:20260415T233000
DTSTAMP:20260428T010606
CREATED:20260406T122433Z
LAST-MODIFIED:20260406T122433Z
UID:20642-1776193200-1776295800@globalazmedia.com
SUMMARY:Bruno Mars at State Farm Stadium
DESCRIPTION:A born entertainer with a stage name ideal for a showman\, Bruno Mars is not only a charismatic performer but also a songwriter\, producer\, multi-instrumentalist\, and all-around studio collaborator whose Grammy nominations and awards have recognized his full range of talent. Putting an updated pop twist on styles such as early rock & roll and R&B\, new wave\, and reggae\, Mars rose to prominence in 2010\, the year his name appeared at or near the top of the Billboard Hot 100 with B.o.B‘s “Nothin’ on You\,” his own “Just the Way You Are\,” and CeeLo Green‘s “Fuck You” — all three of which he had a hand in writing and producing. Those hits\, along with Mars’ multi-platinum debut album Doo-Wops & Hooligans\, led to a total of 13 Grammy nominations and a win for Male Pop Vocal Performance. Mars was only getting started. His 2012 return Unorthodox Jukebox\, chart-topping Mark Ronson collaboration “Uptown Funk\,” and production for Adele‘s 25\, followed by his 2016-issued third album 24K Magic\, combined for ten Grammys including wins in three of the Big Four categories. Having contemporized several shades of funk\, mid-’80s pop\, and new jack swing on 24K Magic\, Mars then teamed with touring partner Anderson .Paak to record a set of knowing retro-soul under the name Silk Sonic. Their 2021 LP\, An Evening with Silk Sonic\, became Mars’ fourth platinum album with the number one pop hit “Leave the Door Open” alone taking four Grammys. The duo’s 2022 cover of Con Funk Shun‘s “Love’s Train\,” fronted by Mars with typically raspy conviction\, has since become an R&B radio staple. Collaborations with Lady Gaga (“Die with a Smile”) and Rosé (“APT.”) attracted further accolades before Mars returned with his fourth album\, The Romantic (2026)\, heralded by the chart-topping “I Just Might.” \nBorn Peter Hernandez in 1985 in Honolulu\, Hawaii\, Mars kicked off his career at the age of four by fronting his uncle’s band\, becoming Oahu’s youngest Elvis impersonator in the process. Ten years later\, he was impersonating the King of Pop\, Michael Jackson\, as part of the Legends in Concert show. After graduating high school in 2003\, he took his uncle’s advice and moved to California to pursue a music career. He eventually met songwriter Philip Lawrence\, who convinced Mars to try his hand at writing songs for other artists. The two dubbed themselves the Smeezingtons and co-wrote Brandy‘s “Long Distance.” The duo scored their first number one hit in 2009\, when they co-authored Flo Rida‘s international smash “Right Round.” \nBy 2010\, Mars seemed to be everywhere: singing alongside B.o.B on the chart-topping “Nothin’ on You\,” co-writing “Billionaire\,” and collaborating with CeeLo Green on the Grammy-nominated hit “Fuck You.” He also began issuing his own material\, starting with the May 2010 release of his first EP\, It’s Better If You Don’t Understand. Doo-Wops & Hooligans\, his full-length debut\, appeared later that year and quickly produced a number one single\, “Just the Way You Are.” He hit number one again with “Grenade” and remained in the Top Ten with “The Lazy Song” and “It Will Rain.” In 2012\, Mars both hosted and performed as a musical guest on Saturday Night Live\, debuting tracks from his upcoming album. \nThat record\, the genre-jumping effort Unorthodox Jukebox\, was released later in the year and featured the chart-topping single “Locked Out of Heaven\,” along with production from Mark Ronson\, Diplo\, and others. “Locked Out of Heaven” topped the Hot 100\, and the album reached number two in the U.S. The second single\, “When I Was Your Man\,” also hit number one. Unorthodox Jukebox later won a Grammy Award for Best Pop Vocal Album. All that success made Mars a natural for one of the world’s most prestigious gigs\, the half-time show for Super Bowl XLVIII\, where he performed with Red Hot Chili Peppers in 2014. Mars later fronted Mark Ronson‘s “Uptown Funk\,” a song he co-wrote that was among the most popular singles of that year. It topped charts around the globe (becoming his sixth number one) and took home several Grammy Awards\, including Record of the Year. \nIn 2016\, Mars returned with another funk-flavored hit\, “24K Magic\,” and its parent album of the same title. Influenced by soul\, funk\, and ’90s R&B\, 24K Magic peaked at number two on the Billboard 200 and produced Mars’ seventh chart-topper\, “That’s What I Like\,” as well as “Finesse” with rapper Cardi B and “Versace on the Floor\,” which was also released as a remix by David Guetta. The album took home the Grammy Award for Best Engineered Album\, Non-Classical. In February 2019\, Mars again collaborated with Cardi B on the track “Please Me\,” which landed at number three on the Billboard Hot 100. That July\, he joined Ed Sheeran and Chris Stapleton on the song “Blow.” \nIn early 2021\, Mars teamed with Anderson .Paak — who opened the European leg of the 24K Magic World Tour — as Silk Sonic. After releasing their first single\, “Leave the Door Open\,” in March\, the duo made their television debut with a performance at the 2021 Grammy Awards. A year later\, the pair dominated the 2022 Grammys ceremony\, taking home awards for Record of the Year\, Song of the Year\, Best R&B Performance\, and Best R&B Song for “Leave the Door Open” from their global Top Ten debut An Evening with Silk Sonic. Also in 2022\, the duo returned to the airwaves with a faithful cover of Con Funk Shun‘s 1982 deep quiet storm classic “Love’s Train.” 2024 saw Mars collaborating on a pair of high-profile hits. “Die with a Smile” was a joint effort with Lady Gaga that topped the Hot 100 and earned them a Grammy Award for Best Pop Duo/Group\, and it was followed in October by an appearance on “APT.\,” a number three hit single for Rosé. The latter was nominated for three Grammys. Mars returned to solo recording for the first time in a decade with 2026’s The Romantic. Led by the single “I Just Might\,” his first song to debut at number one in the U.S.\, it was produced by D’Mile and the artist himself.
URL:https://globalazmedia.com/event/bruno-mars-at-state-farm-stadium/
LOCATION:State Farm Stadium\, 1 Cardinals Dr\, Glendale\, AZ\, 85305\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260419T190000
DTEND;TZID=America/Phoenix:20260419T233000
DTSTAMP:20260428T010606
CREATED:20260414T124113Z
LAST-MODIFIED:20260414T124113Z
UID:20712-1776625200-1776641400@globalazmedia.com
SUMMARY:Insane Clown Posse at Marquee Theatre
DESCRIPTION:Part rap group\, part societal phenomenon\, Insane Clown Posse amassed an unlikely cult around their cartoonish and critically loathed horrorcore rap styles. Loosely connected themes of psychopathic clowns\, Faygo soda\, and the importance of friendship were enough for thousands of die-hard fans to don clown make up and proclaim themselves “juggalos\,” part of a community of Insane Clown Posse superfans drawn to their lowest-common-denominator humor and shock-factor rhymes. Staunchly independent\, ICP only had brief and controversy-heavy associations with major labels around the time of their 1997 album The Great Milenko\, but spent most of their decades of existence releasing their albums (as well as the music of an extended family of artists) on their own Psychopathic Records label. The group’s grassroots approach resulted in millions of album sales\, with a creative and commercial peak around the time of their highly conceptual late-’90s/early-2000s output. A loose narrative exposed over the course of several albums — records like 1995’s Riddle Box and 1999’s The Amazing Jeckel Brothers — was presented as different “joker’s cards\,” culminating with the spiritual reveal of 2002’s The Wraith: Shangri-La. At that point\, however\, the wicked clowns were the center of a global counterculture\, and they charged ahead for decades to come with releases like 2007’s The Tempest\, and the unveiling of a second deck of joker’s cards with albums like 2011’s Bang! Pow! Boom! and 2021’s Yum Yum Bedlam. \nDown to a duo\, ICP were originally formed in 1989 as a hardcore Detroit rap group called Inner City Posse. After combusting in 1991\, the only members left\, Violent J (born Joseph Bruce) and Shaggy 2 Dope (born Joseph Utsler)\, slightly altered their name to reflect the fact that they had been visited by the Carnival Spirit\, who ordered them to carry the word of an impending apocalypse by touring the nation and releasing six “joker cards” (popularly known as LPs) with successive revelations of the final judgment. The first\, Carnival of Carnage\, appeared in 1992 on their own Psychopathic Records label. The group became notorious in Detroit’s underground scene\, but several tours around the region failed to ignite much more than the rage of community leaders. \nDown to a duo\, ICP were originally formed in 1989 as a hardcore Detroit rap group called Inner City Posse. After combusting in 1991\, the only members left\, Violent J (born Joseph Bruce) and Shaggy 2 Dope (born Joseph Utsler)\, slightly altered their name to reflect the fact that they had been visited by the Carnival Spirit\, who ordered them to carry the word of an impending apocalypse by touring the nation and releasing six “joker cards” (popularly known as LPs) with successive revelations of the final judgment. The first\, Carnival of Carnage\, appeared in 1992 on their own Psychopathic Records label. The group became notorious in Detroit’s underground scene\, but several tours around the region failed to ignite much more than the rage of community leaders. \nOn Halloween 2000\, the group issued its sixth album\, which apparently did not count (as all the other albums had) as a joker card (in the ICP fantasy world\, the sixth joker card was supposed to signal the apocalypse). Similar to Guns N’ Roses‘ Use Your Illusion\, the album was released in two completely different\, separate versions\, titled Bizzar and Bizaar. Finally needing to live up to the years of hype\, 2002’s The Wraith: Shangri-La revealed that the hidden message of their music was always to follow God and make it to Heaven. Considering the murder fantasies of “Beverly Kills 50187” and the necrophiliac overtones of “Cemetery Girl\,” this may have been a shock to longtime fans. \nIn August 2004\, the band released the sixth and final joker card\, Hell’s Pit\, in two separate editions; both had the same CD but were packed with different DVDs. Nevertheless\, the Dark Carnival wasn’t fully shuttered. Spring 2005 found ICP hyping a new direction for the mythology\, to be revealed with the May release of Calm. The EP also prepped Insane Clown Posse’s devoted fan base for the sixth annual Gathering of the Juggalos that July. Their 2007 effort\, The Tempest\, found the duo reuniting with producer Mike E. Clark\, the man behind the first four joker card releases. Clark stuck around for their 2009 Bang! Pow! Boom! album. That same year\, the duo presented a second feature-length film. This time exploring a western motif\, Big Money Rustlas featured the clowns in gunslinger garb and was again released outside of theaters. \nFeaturing Freshness\, a two-disc collection of the group’s work with other artists\, arrived in 2011. A year later\, the conceptual The Mighty Death Pop focused on their detractors and other “certified hoes\,” with Clark returning as producer. In 2015\, The Marvelous Missing Link (Lost) landed as the first of that year’s two albums\, while The Marvelous Missing Link (Found) landed later in the year. In 2017\, while recording the next joker card\, the duo released a pair of solo albums\, with Shaggy 2 Dope‘s F.T.F.O.M.F. arriving months before Violent J‘s American Life/Lives. In mid-2018\, the group announced that their 15th studio album\, Fearless Fred Fury\, would be released in October of that year\, but it was ultimately pushed back until February 2019. An eight-song EP\, Flip the Rat\, was scheduled for release on the same day. In advance of the group’s next studio album\, they released the eight-song EP Yum Yum’s Lure in February of 2021\, eventually delivering a full album\, Yum Yum Bedlam\, on the last day of October that same year. The album represented the fifth joker’s card in the second deck of the ongoing Dark Carnival saga\, and included guest appearances from Roadside Ghost and Vinnie Dombroski.
URL:https://globalazmedia.com/event/insane-clown-posse-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20260425T100000
DTEND;TZID=America/Phoenix:20260425T233000
DTSTAMP:20260428T010606
CREATED:20260404T034039Z
LAST-MODIFIED:20260404T034039Z
UID:20627-1777111200-1777159800@globalazmedia.com
SUMMARY:Sick New World 2026 at Las Vegas Festival Grounds
DESCRIPTION:After hitting a bump in the road in 2025\, the Sick New World festival is returning in a big way in 2026\, staging massive one-day events in both Las Vegas and Forth Worth\, Texas\, both headlined by System of a Down. \nThe 2026 Vegas edition\, taking place April 25th at the Las Vegas Festival Grounds\, boasts System of a Down\, Korn\, Bring Me the Horizon\, Ministry\, Evanescence\, Marilyn Manson\, AFI\, Acid Bath\, Knocked Loose\, Danny Elfman\, Cypress Hill\, Mastodon\, Underoath\, Melvins\, Filter\, Clutch\, and many more acts. \nTICKETS\nThe inaugural Fort Worth edition\, set for October 24th\, 2026\, at the Texas Motor Speedway\, features System of a Down\, Deftones\, Slayer (celebrating the 40th anniversary of Reign in Blood)\, Evanescence\, Ministry\, AFI\, Mastodon\, Knocked Loose\, Power Trip\, The Prodigy\, Underoath\, Clutch\, Down\, Melvins\, and more. \nA pre-sale for the Vegas edition of Sick New World festival starts Thursday\, October 23rd\, at 10 a.m. local time\, using the code SICK26 at this location. The pre-sale for Texas starts on Friday\, October 24th\, at 10 a.m. local time using the code SICK26 at this link. \nThe 2025 edition that was set to feature Metallica and Linkin Park in Las Vegas was abruptly canceled within weeks of its announcement\, reportedly due to low ticket sales. For 2026\, organizers once again tapped System of a Down\, who headlined the successful first two editions of Sick New World in 2023 and 2024 in Sin City. \nSee the full lineups for both festivals in the posters below.
URL:https://globalazmedia.com/event/sick-new-world-2026-at-las-vegas-festival-grounds/
LOCATION:Las Vegas Festival Grounds\, 2880 S Las Vegas Blvd\, Las Vegas\, NV\, 89109\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260505T190000
DTEND;TZID=America/Phoenix:20260505T233000
DTSTAMP:20260428T010606
CREATED:20260427T184920Z
LAST-MODIFIED:20260427T184920Z
UID:20729-1778007600-1778023800@globalazmedia.com
SUMMARY:Hayley Williams at The Van Buren
DESCRIPTION:Ego Death At a Bachelorette Party puts Hayley Williams’ full range on display. “Mirtazapine” is a late-’90s alt-rock love letter to antidepressants\, while on “Glum\,” she subverts her own voice—using vocal presets to striking effect as the track meditates on loneliness. Other standouts include “Whim\,” an easy Americana earworm with a songwriting backbone that nods to her Nashville roots\, and “Ice in My OJ\,” a thoroughly modern track that pairs sharp production with some of Williams’ most biting and humorous lyrics to date. Long-time Paramore fans may quickly recognize the “Ice In My OJ” chorus\, as it was first sung by Williams in 2004 on “Jumping Inside” by the Mammoth City Messengers. But perhaps all of her talents converge most impactfully on the album’s only previously unreleased track\, “Parachute.” It’s a reminder of Williams ability to strike right at the heart\, with not only her confessional lyrics\, but her unmatched delivery. The album captures all the dynamism Williams has shown throughout her career and collaborations. At its core\, these songs are the work of a supremely gifted artist with a voracious\, genre-defying appetite for music and creative exploration. \nThese songs come as the third batch of work released from Williams as a solo artist. The COVID-era saw her release two extraordinary albums – 2020’s Petals For Armor and 2021’s Flowers for Vases. Both albums were gorgeous and stark meditations on loss and offered up a contrast to the high-energy and up-tempo muscle she displays in Paramore. “The record—epitomizing vulnerability and transformative growth—reveals a more mature and introspective side of Williams\,” said Pitchfork of Petals\, and went on to say of Flowers “her voice is undoubtedly the standout feature… husky and gentle\, dangerous yet warm\,” and explained that the minimal production “makes this a purposeful reset.” \nHayley Williams is a 3x GRAMMY winning singer\, songwriter and musician best known for her role as the frontperson of legendary rock band Paramore. With her incredible range and delivery\, Billboard ranked her at #13 on their list of 50 Greatest Rock Singers of All Times saying\, “when it comes to singers in contemporary rock\, Hayley Williams reigns supreme.” Frequently listed as a source of inspiration from contemporary performers as varied as Chappell Roan\, Doechii and Billie Eilish – she’s also appeared on a wide variety of albums and singles as a collaborator and guest vocalist including Turnstile’s latest “Seein’ Stars”\, Moses Sumney’s “I Like It I Like It\,” and Taylor Swift’s “Castles Crumbling.” Swift went on to have Paramore open the first ever The Eras Tour show that debuted in Arizona and later they went on to open all dates on the European leg of her world tour. \nAt just 16 she brought the band to the masses with the release of their album All We Know Is Falling which was certified Gold and just celebrated its 20 year anniversary last week. The band’s breakthrough came with 2007’s Riot!\, powered by the success of the 6X certified platinum single “Misery Business.” In 2009\, Brand New Eyes solidified their place in the rock landscape. Paramore’s self-titled 2013 album marked a commercial and critical peak\, with the platinum single “Ain’t It Fun” earning Paramore their first Grammy win for ‘Best Rock Song’ in 2015 and further nominations for ‘Best Rock Album.’ 2017’s After Laughter introduced a polished\, ‘pop-influenced sound that continued to attract acclaim with the breakout single “Hard Times.” After a long hiatus\, in 2023\, they returned with This Is Why\, a full grown\, alternative-leaning record that earned the band two Grammy wins for ‘Best Alternative Song’ and ‘Best Rock Album’ making Paramore the first female-fronted rock band to ever win the category in its 31-year history. \nHayley Williams bandmate Zac Farro also recently released his first solo-work under his own name. Zac Farro – Operator is out everywhere now via his own label\, Congrats Records. \n \n \nIt’s A Beautiful Place opens with zero-gravity instrumental ‘One Small Step’ – a fitting prelude for what is one giant leap for New York duo Water From Your Eyes. The album is a gleaming megalopolis\, a satellite view of eras and musical forms\, a reframing of the y2k songbook that is at once awe-struck and mindful of its place in the vastness. Short instrumental interludes serve as portals between towering\, muscular songs. “It ended up being about time\, dinosaurs and space\,” says Nate Amos . “We wanted to present a wide range of styles in a way that acknowledges everything’s just a tiny blip.” Throughout It’s A Beautiful Place is a clear sense of a band who have honed their curveballs into home runs. Looming and melancholy\, wide-eyed and petrified\, it’s Blade Runner with a touch of WALL-E\, it’s Kubrick and Asimov with a hint of Jay and Silent Bob. These are songs that look outward\, conscious of our smallness and questioning our place in the universe while admiring the surrounding beauty.
URL:https://globalazmedia.com/event/hayley-williams-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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